Glasgow born, Amsterdam-based artist Vince Watson has graced some of the biggest labels out there. Names like Bedrock, Cocoon, Planet E, Yoruba and Ovum give you an idea of the producer’s quality. When the opportunity arose to venture inside the studio with Watson, we knew it was not one we wanted to miss. Armed with a list of hot topics, we got the Glaswegian’s thoughts on a number of current issues in electronic music, ranging from value of Beatport’s new Stems initiative to the use of samples in production. Educate yourself below!
WWD: Thanks for joining us Vince!
Where are you right now? What’s been on the to-do list this week?
Today im at home but going to the studio shortly. The next 2 weeks are all about my 3rd Sonic Academy tutorial. After the last 2 being successful we got a lot of requests for me to do something more in line with what i would release as a club track, so thats where im going. Should be out later this year.
WWD: Unfortunately the Summer is fast coming to a close, what have been your highlights so far?
My summer isn’t closing, as im off to Sicily on holiday in 2 weeks time! 🙂 Its been a nice summer, had a bit more time this year than normal to relax and enjoy some downtime, last year was mental.

WWD: Aside from in the studio and behind the decks, where have you spent your time these last few months?
Ive actually been trying to get back into shape and taking a lot of things out my diet. The sharper I am in the studio the better the results and after a wedding and 2 honeymoons it was time to trim!
WWD: You’ve publicised your concern for the Stems concept on Beatport. With some more time to think on it, is it an important innovation or a dangerous addition?
Stems look to me to be a good concept, innovative (sort of) and they have obviously thought it out well to bring it to market, but my fears will always remain that if a lot of djs embrace it, its going to make so many djs sound like techno jivebunny. Now, you could say we have already reached that point so this is just a way to make it easier for the djs who play with ableton to switch over….but really really good tracks are built on the basis that the sum of the parts add up to more than just the parts themselves, and removing parts of really really good tracks to play alongside the missing parts from other tracks could dilute them just too much. For me the jury is out, and im not sure if this is something that will get major mainstream quickly enough to take over. We shall see…
WWD: As you’ve done it recently, can you take us behind your creative process of building a Sample pack?
Its funny…. this was my first sample pack in this format. I had done a cover-mount one before for Computer Music 2 years ago, but this was more of a complete package. Before I started it, I really wasn’t aware how difficult it would be. I made everything specifically for this pack as I really didn’t want to use unused stuff I had in unfinished tracks. It felt like cheating a bit and besides that, I might have wanted to use them myself at some point. Once you’ve got a plan laid out in terms of what you want to include its just a time +/- creativity = hours and hours of work. Happy with the results though.
WWD: What’s your opinion on the use of samples in production? Can you tell us about the last time you use a sample in your work? If you have…
I hate samples that are untouched or just filtered, its lazy, uncreative and at the end of the day, not your work. If you take great pride in your music, surely its better to be proud of it knowing you actually did some work for it by manipulating and carving something up to make it yours rather than just a filter on a sample, thats just lazy, and when your playing out your legacy when your 70 to your grandchildren and your grandchildren find out that you stole someone else’s work and didn’t actually do anything, thats gonna suck, bad. Or Imagine the look of awe and amazement when you show them how you did something and turned it into something else. People think far too short term in music sometimes…
WWD: As a producer do you still push yourself to learn new techniques and skills?
Its a lifelong learning this music thing…its never ending. Just when you think you know quite a lot of knowledge, up pops a whole new world you didn’t know existed (or pain!). Its one of 2 reasons I will never ever look at modular synths. 1 I cant handle all those cables covering the actual synth and 2 its a bottomless abyss. You will never find the answers….
WWD: Where have you tested yourself recently?
Im always testing myself. I love challenges, and every album ive made has been a new one. I finished an album last year that isnt released yet and that was super challenging, and really tested my skills as a producer and keyboard player and drummer (there is a hint). Im also doing a (techno based) album at the moment which will be my first album like that for 10 years. Its quite a challenge as i want to do so many different things so its a challenge to keep focus.
WWD: Production wise, what can we expect from you over the coming months?
Last year was intense with releases, I did 9 singles and 5 remixes in 12 months, so this year has been less intense with 2 singles and a few more remixes. I just released a single on Nervous and there is a remix coming on King Street to follow on from my Yoruba single in February, and there is a remix on Wolf Trap coming shortly also. 2016 there will be more singles again, though im not sure I can do another 9, and of course 1 album maybe 2!
WWD: Before we leave you, what are the big dates coming up in your calendar?
Its holidays next for me, but on my return ill be in Glasgow, Portugal and New York first.
Next dates :
Sept10 Boiler Room, Subclub Glasgow.
Sept11 Gare909, Porto.
Sept12 Europa Sunrise, Lisbon
Sept 20 Output, New York
Oct 3 Titty Twister, Venlo
Oct 16 Click ADE, Amsterdam
Oct 17, Yoruba Party ADE, Amsterdam